The Fifth Element (1997) is a French science-fiction film in English, directed and co-written by Luc Besson. The title and the plot of the film refer to a central notion of Greek philosophy, that is, pemptousia, or quintessence. Pre-Socratic philosophers such as Thales, Anaxagoras, Anaximenes and others, were convinced that all natural beings – in fact, nature itself – consist in four primary imperishable elements or essences (ousiai), i.e., fire, earth, water, and air. To these four, Aristotle added aether, a (...) fifth essence (pemptousia). The introduction of aether gave birth to a great tradition in late Antique and Medieval philosophy, and eventually it came to signify not an additional primary element, but the core-essence of all beings, their fundamental ontological structure. Besson’s film draws its inspiration on this philosophical tradition but its cinematographic rendering of the concept of Quintessence is typical of the contemporaneous views on the core characteristics of matters. The modernity that stimulates the film is equally anti-transcendentalist and anti-essentialist. Thus, the fifth element of the film is existentially personified and genderized making the traditional philosophical significance of the term to be adjusted by modernity in an immanent and temporal context where in addition aesthetics plays a crucial role. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

Instagram is currently the social media platform most associated with online images, but images from other platforms also can be collected and grouped, arrayed by similarity, stacked, matched, stained, labelled, depicted as network, placed side by side and otherwise analytically displayed. In the following, the initial focus is on Instagram, together with certain schools of thought such as Instagramism and Instagrammatics for its aesthetic and visual cultural study. Building on those two approaches, it subsequently focuses on other web and social (...) media platforms, such as Google Image Search, Twitter, Facebook and 4chan. It provides demonstrations of how querying techniques create online image collections, and how these sets are analytically grouped through arrangements collectively referred to as metapictures. (shrink)

Terrorist violence is often condemned for targeting innocents or non-combatants. There are two objections to this line of argument. First, one may doubt that terrorism is necessarily directed against innocents or non-combatants. However, I will focus on the second objection, according to which there may be exceptions from the prohibition against killing the innocent. In my article I will elaborate whether lethal terrorism against innocents can be justified in a supreme emergency. Starting from a critique of Michael Walzer’s account of (...) supreme emergency, I will argue that the supreme emergency exemption justifies the resort to terrorism against innocents to avert moral disasters such as genocide and ethnic cleansing, provided that the criteria of last resort, proportionality and public declaration are satisfied. (shrink)

In many critical investigations of machine vision, the focus lies almost exclusively on dataset bias and on fixing datasets by introducing more and more diverse sets of images. We propose that machine vision systems are inherently biased not only because they rely on biased datasets but also because theirperceptual topology, their specific way of representing the visual world, gives rise to a new class of bias that we callperceptual bias. Concretely, we define perceptual topology as the set of those inductive (...) biases in machine vision systems that determine its capability to represent the visual world. Perceptual bias, then, describes the difference between the assumed “ways of seeing” of a machine vision system, our reasonable expectations regarding its way of representing the visual world, and its actual perceptual topology. We show how perceptual bias affects the interpretability of machine vision systems in particular, by means of a close reading of a visualization technique called “feature visualization”. We conclude that dataset bias and perceptual bias both need to be considered in the critical analysis of machine vision systems and propose to understand critical machine vision as an important transdisciplinary challenge, situated at the interface of computer science and visual studies/Bildwissenschaft. (shrink)

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

Hastings reads the novel Comme dans un film des frères Coen by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” therefore recalling the name of the actress (...) with the same name. He gradually loses contact with his wife and his son, a successful painter, and is transformed into “the man who was not there” another character from a movie by the Coen brothers entitled The Barber: the man who was not there. Hastings asks: How could one get lost with a GPS? After the main character had initially bought his GPS for a trip in Australia in order to find his way, it started to go beyond its role as a road guide and questioned where he was in his relationship with his wife, in his career as a writer, and in his skin as a mature man. Not only was the GPS not fulfilling its purpose but also it started to ruin a fragile relationship hoping to find its way back to love during a last minute trip in Australia. Even after destroying the annoying talkative GPS, it continued to disrupt the couple in the plane on the way back to Canada. As much as Gwyneth the GPS is synonymous with escape and freedom, it is also showing the main character the wrong way, the way out of his reality, out of his family and out of his life. His attempts to free himself from Gwyneth are worthless, her image is still there, haunting his thoughts like images from a movie. But the displacement happens at another level than just the diegetic one. The confrontation of the text with moving images has consequences on the shape of the text itself. The mapping of the text on the page is influenced by this amalgam. The white page becomes a space where words are rearranged in different ways, some of which suggest poetry, other cartoons or cinematic images. The displacement of literature in areas that were previously foreign to it is at the heart of creative activity, and determines its renewal. Hastings presents the consequences resulting from the confrontation with the GPS, both on the mapping of one’s identity as well as the mapping and the shaping of the text itself. (shrink)

The thylacine was a shy and elusive nonhuman animal who survived in small numbers on the island of Tasmania, Australia, when European settlers arrived in 1803. After a deliberate campaign of eradication, the species disappeared 130 years later. Visual and verbal constructions in the nineteenth century labeled the thylacine a ferocious predator, but photographs of individuals in British and American zoos that were used to illustrate early twentieth-century zoological works presented a very different impression of the animal. The publication of (...) these photographs, however, had little effect on the relentless progress of extermination. This essay focuses on the relationship between photographs of thylacines and the process of extinction, between images and words, and between pictures of dead animals and live ones. The procedures, claims, and limitations of photography are crucial to the messages generated by these images and to the role they played in the representation of the species. This essay explains why the medium of photography and pleas for preservation could not save the thylacine. (shrink)

Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience, Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics. In this paper, I show that Dewey already refuses the gap between the practices of the ‘artworld’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the same essential structure (...) as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions. (shrink)

A widespread opinion holds that norms and codes of conduct as such can only be established via words, that is, in some lexical form. This perspective can be criticized: some norms produced by human acts are not word-based at all. For example, many norms are actually conveyed through graphics (e. g. road signs and land-use maps), sounds (e. g. the referee’s whistle), a silent gesture (the traffic warden’s signal to halt). In this article, we will focus on the norms that (...) are created by means of drawings and can be termed “drawn norms” or “graphical norms.” Specifically, we will inquire into the phenomenon of graphical norms with particular regard to traffic signs and land-use plans, and we will discuss the philosophical and legal problems to which these phenomena give rise. (shrink)

Throughout history, the concepts of phantasia (Greek) or imaginatio (Latin) have been linked to the concept of the human body and in particular to our sensory perceptions. But phantasia/imaginatio have also always been linked to the mind and how the operations of the mind are connected with bodily sensations. Functioning as interface between the senses and the mind, phantasia has predominantly been exemplified with the notion of the visual image, rather than a tactile or oral depiction. But as emphatic as (...) discussion of the image has been, in particular throughout the Renaissance period and again in modernity, it has hardly been linked to the contemporaneous technology of imagery that accompanied the theoretical discourses on imagination. The article will flesh out central historical and systematic aspects of the concept of imagination (I), but instead of submitting them to a history of ideas it will turn to a comparative study of the first monograph on imagination by the Renaissance philosopher Gianfrancesco Pico della Mirandola from 1501 and Sigmund Freud’s Interpretation of Dreams from 1900 (II) to investigate their respective understandings of imagination and inner images in the light of the technology of imagery (III). (shrink)

Visual research is a fast-growing interdisciplinary field. The flexibility and diversity of visual research methods are seen as strengths by their adherents, yet adoption of such approaches often requires researchers to negotiate complex ethical terrain. The digital technological explosion has also provided visual researchers with access to an increasingly diverse array of visual methodologies and tools that, far from being ethically neutral, require careful deliberation and planning for use. To explore these issues, the Symposium on Exploring Ethical Frontiers of Visual (...) Methods was held at the University of Melbourne, Australia, on 4 March 2014. The symposium was hosted by the Visual Research Collaboratory, a consortium of Australian and Canadian visual researchers, with support from Melbourne Social Equity Institute, University of Melbourne. The symposium represented the culmination of a process to develop a resource outlining principles of ethical practice for visual researchers and ethics committee members, the Guidelines for Ethical Visual Research Methods, which were launched at the event. The Guidelines present a framework for considering ethical matters in visual research, distinguishing six groups of issues united by an overarching theme: confidentiality; minimizing harm; consent; fuzzy boundaries; authorship and ownership; and representation and audiences. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 220 Seiten: 173-198.

Photographic representations of women living with or beyond breast cancer have gained prominence in recent decades. Postmillennial visual narratives are both documentary projects and dialogic sites of self-construction and reader-viewer witness. After a brief overview of 30 years of breast cancer photography, this essay analyzes a collaborative photo-documentary by Stephanie Byram and Charlee Brodsky, Knowing Stephanie , and a memorial photographic essay by Brodsky written ten years after Byram’s death, “Remembering Stephanie” . The ethics of representing women’s postsurgical bodies and (...) opportunities for reader-viewers to engage in “productive looking” are the focal issues under consideration. (shrink)

The theme of visual representations in science was already central to our research when we aended the 6th European Spring School on History of Science and Popularization in Menorca, Spain, in 2011. As discussed in the review of this conference by Ignacio SuayMatallana and Mar Cuenca-Lorente (245), many participants not only described the particulars of the generation of individual images, but also broader issues surrounding the constitution of visual domains. We were impressed by the range of scholarship surrounding the production, (...) circulation, and interpretation of a wide variety of images, yet a nagging question remained: what issues unite this diversity of research and compel us to investigate such representations? Beyond their novelty, why study scientific images at all? (shrink)

While most research in public relations and strategic communication concentrates on textual elements, this contribution shifts the focus to the growing importance of visual elements. The theoretical background is based on visual theory and the concept of strategic mediatization. By using a large-scale quantitative survey among 3,387 European communication professionals, this study is the first empirical evidence of communication professionals’ perspectives concerning visual communication. Therefore, the paper empirically demonstrates a visual turn in strategic communication. Although practitioners have been using visual (...) elements since the very beginnings of their trade, only a minority guide these activities through a sound management process. This calls for a deeper consideration of visual communication management in practice and visual public relations research in academia. (shrink)

Aspects of phronetic social science and phronetic organization research have been much debated over the recent years. So far, the visual aspects of communicating phronesis have gained little attention. Still organizations try to convey a desirable image of respectability and success, both internally and externally to the public. A channel for such information is corporate reporting, and particularly CSR reporting embrace values like fairness, goodness, and sustainability. This study explores how visual portrayals of supposedly wise and discerning values (phronesis) are (...) used to reinforce the verbal features of CSR reporting. The two propositions underlying this study is (1) that visual images form some of the major parts of the structures of contemporary corporate reporting (particularly CSR reporting) and (2) that phronetic action in organizations is subjected not only to textual documentation, but also to visual expressions. This study also discusses how the Aristotelian concept of phronesis can be linked to contemporary concerns about responsibility, and how this is visually represented in CSR reporting. Finally, this study addresses the symbolic and contextual signification of images in corporate accounts of wisdom and responsibility. (shrink)

The article explores the relationship between visual culture and the fight for visibility and attention in contemporary society. It draws on a concept of visual culture which not only sees the rising significance of the visual and the proliferation of images as its defining traits, but also the fact that, today, people are—to a much higher degree—both consumers as well as producers of images. Based on this definition, it is argued that in visually oriented communication and media societies, the anthropologically (...) fundamental need for attention manifests itself as a fight for visibility which takes on the form of ever more extreme forms of public self-display. Furthermore, a portrait of two social figures—the star and the voyeur—will serve as further analysis and description of the social trends which can be tied to the emergence of today's visual culture. The article will close by discussing attention and visibility in terms of inclusion and exclusion and by proposing an analytical model for differentiating four modes of existence in a visual culture. (shrink)

The author analyses the ways in which the perspectives of philosophy and sociology interact in the age of visualization and demonstrates how the image—the main object of the relevant academic research—connects them. The mediological approach, analysed as particularly useful for images created with the help of modern technologies, is presented. The analysis focuses on photographs of a crowd marching through the main streets of Vilnius as well as on video projections of augmented reality performed on the most representative buildings of (...) the city. The philosophical and sociological perspectives on represented images are presented and compared; the philosophical approach investigates the phenomenon of mass and modern technologies. Features of Vilnius’ public places and its citizens starting from the middle of the twentieth century are reconstructed and analyzed. (shrink)

This article inverts Donna Haraway’s proposition that ‘the ideologically charged question of what counts as daily activity, as experience, can be approached by exploiting the cyborg image’ by instead exploiting everyday experience to approach the contemporary cyborg. It utilises digital tools to compile a corpus of Instagram posts that foreground corporeal hybridity, and examines this social media data through the lenses of feminist STS, affect theory and digital studies. This strategy offers a new vantage on the cyborg by connecting it (...) to concrete and ongoing user practices. To make these interventions, this project focuses specifically on a genre of post popularised by Instagram fitness (or fitstagram) influencers – diptych photographic montages that oppose imperfectly ‘real’ material bodies to unrealistically ‘perfect’ media bodies. Although they formally rely on binary logics (real v. perfect, offline v. online), the posts simultaneously deconstruct them in a number of ways. These repeated boundary transgressions reflect users’ lived experiences of hybrid online/offline corporeality and help forward a theory of cyborg embodiment that relies on quotidian practices as opposed to fixed products or identities. Moreover, close engagement with a final dataset of eighty-nine posts illuminates three particular modes of enacting the cyborg corpus on Instagram: occupation of multiple bodies, awareness of the analogue body and anxious boundary-work. This research extends the cyborg as a critical figure by situating it within a social media context, attending to its imbrication in everyday practices, and affirming female Instagram users as theorists of their cyborg selves. (shrink)

In this contribution Claudia Becker examines the necessity for a “Philosophy of Photography” Flusser proposed in the 1980s. She expounds the problem that there is no deeper reception of his thought in the various discourses of the pictorial turn or media philosophy, even though Flusser can be read as one of the first who proclaimed a philosophy of images. She takes a closer look at the propositions of what Flusser calls a philosophy of photography and correlates them with other famous (...) thinkers and philosophers. (shrink)